本論文關注美國攝影師黛安‧阿勃斯(Diane Arbus, 1923-1971)攝影作品中的詭異性質，利用發展攝影的詭異樣態，進而詮釋阿勃斯的攝影實踐。理論根據來自於耙梳佛洛依德(Sigmund Freud, 1856-1939)〈詭異〉論述之來源與延伸，並實行詭異與智識不確定(intellectual uncertainty)、分身(double, doppelgänger)等概念之間的交互辯證。論文結構以第一章為緒論。第二章進入〈詭異〉之核心，探究「泛靈信仰」、「閹割情結」等詭異之原型，澄清分身、無意識重複、失明恐懼等元素內容。第三章將理論延續、擴展成攝影詭異的兩種類型，並輔以攝影魔術特徵之發展脈絡相互呼應。第四章則藉由地景、人物、攝影本質等三個不同子題，從拍攝手法、主題與意圖等層面闡明阿勃斯攝影肖像的詭異性質。

This thesis concerns on the uncanny in Diane Arbus’s photographic works. By developing the photographic uncanny, its purpose is to interpret Arbus’s works. The theoretical basis stems from Sigmund Freud’s The ‘Uncanny,’ in which I will analyze some crucial concepts, including Ernst Anton Jentsch’s intellectual uncertainty, and Otto Rank’s doppelgänger. Chapter one is the introduction. In chapter two, I investigate into The ‘Uncanny’ and inquire two major archetypes of the photographic uncanny: animism and the castration complex. In chapter three, in order to construct the photographic uncanny, the “magic” idea of photography is referred to and connected to both visual and historical proofs. Finally, in order to explore the uncanniness of Arbus’s photo works, chapter four is divided into three different but strongly related sections, demonstrating the uncanny through topics of landscape, portrait, and the essence of photography.

參考文獻
中文書目

Benjamin, Walter著。《迎向靈光消逝的年代》。許綺玲譯。臺北：臺灣攝影，1998。
Bosworth, Patricia著。《控訴虛偽的影像敘事者：黛安‧阿巴斯Diane Arbus》。陳雅汝譯。臺北：商周，2008。
Crary, Jonathan著。《觀察者的技術：論十九世紀的視覺與現代性》。蔡佩君譯。臺北：行人，2007。
Eco, Umberto著。《醜的歷史》。彭淮棟譯。臺北：聯經，2008。
Hoffman, E. T. A.著。《睡魔》。朱燕顰等譯。臺北：萬象，1999。
Kayser, Wolfgang著。《美人和野獸：文學藝術中的怪誕》，曾忠祿、鍾翔荔譯。臺北：久大，1991。
Laplanche, Jean, and, Jean-Bertard Pontalis著。《精神分析詞彙》。沈志中、王文基譯。臺北：行人，2000。
Sontag, Susan著。《論攝影》。黃翰荻譯。臺北：唐山，1997。
Tarkovsky, Andrey著。《塔可夫斯基的拍立得攝影集》。虹風譯。臺北：繆思，2008。
李宏泰。《超現實之眼：超現實主義攝影中的「異/常場景」》（未出版）。國立臺灣師範大學碩士論文。2007。
林志明。〈在指認與認同之間擺盪的攝影肖像〉。《藝術與認同》。臺北：南天，2003。173-198。
黃鈺傑。《漢斯‧貝墨之人偶攝影研究》（未出版）。國立成功大學碩士論文。2005。
陳慧盈。《紀實與抒情：黛安‧阿勃斯《無題》系列中的社會邊緣人形像》（未出版）。國立中央大學碩士論文。2009。

中文期刊與網路資料

林志明。〈攝影影像與臺灣當代藝術〉。《今藝術》。2002年9月：74-78。
---。〈記錄攝影與記錄風格〉。2001。國科會補助西洋藝術史研究。2007年12月。 <http://www.ntnu.edu.tw/fna/arthistory/articals_sct_1.htm>。
劉紀蕙。〈藝術-政治-主體：誰的聲音？論後解嚴與後八九兩岸當代美術的政治發言〉。《臺灣美術期刊》。70（2007）：4-21。
劉瑞祺。〈變換不居的鏡像：猶太同女攝影家克勞德‧卡恩的自拍像〉。《台大文史哲學報》。55（2001）：165-212。
---。〈荻安‧阿勃斯的驚異萬聖節：唐氏症女人的返魅與融聚〉。《臺灣大學美術史研究集刊》。26（2009）：93-135。

西文書目

“Diane Arbus’ Revelations of life.” USA Today Jan. 2004: 64-71.
Armstrong, Carol. “Biology, Destiny, Photography: Difference According to Diane Arbus.” October 66(1993): 29-54.
---. “Diane Arbus: A house on a hill, Hollywood, Cal. 1963.” Artforum Nov. 1999.
Arbus, Diane. Diane Arbus: An Aperture Monograph. Ed. Doon Arbus, and Israel Marvin. NY: Aperture, 1972.
---. Diane Arbus: Magazine Work. Ed. Doon Arbus, and Israel Marvin. NY: Aperture, 1984.
---. Diane Arbus Revelations. NY: Random House, 2003
Baker, George. “Photography between Narrativity and Stasis: August Sander, Degeneration, and the Decay of Portrait.” Octobor 76(1996): 73-113.
Barber, X. Theodore. “Phantasmagoria Wonders: The Magic Lantern Ghost Show in Nineteen-Century America.” Film History 3.2(1989): 73-86.
Batchen, Geoffrey. Burning with Desire: The conception of photography. Cambridge: MIT P, 1999.
Bate, David. “What is a surrealist photograph?” Photography and Surrealism: sexuality, colonialism, and social dissent. NY: I. B. Tauris, 2004. 21-53.
Barberie, Peter. Looking at Atget. Philadelphia Museum if Art/Yale U P, 2005.
Barthes, Roland., “The Photographic Message.” 1961. Image, Music, Text. Trans. S tephen Heath. NY: Nooday P, 1988. 15-31.
---. Camera Lucida. Trans. Richard Howard. London: Vintage, 2000.
Bazin, André. “The Ontology of the Photographic Image.” Trans. Hugh Gray. Film Quarterly. 13.4 (1960): 4-9.
Beloff, Halla. “Photography as Truth and Lies,” “Radical Photography.” Camera Culture. Oxford: Basil Blackwell, 1985. 100-155.
Bosworth, Patricia. Diane Arbus: A Biography. London: Heinemann, 1985, 1984.
Brassaï. Brassaï: the monograph. Ed. Alain Sayag, and Annick Lionel-Marie. Boston: Little, Brown and Company, 2000.
Budick, Ariella. “Subject to Scrutiny: Diane Arbus’s American Grotesque.” Diss. NYU, 1996. Ann Arbor: UMI, 2004.
Burgin, Victor. “Photographic Practice and Art Theory.” 1974. Thinking Photography. Ed. Victor Burgin. London, Macmillan P, 1982. 39-83.
Burwick, Frederick. “Romantic Drama: From Optics to Illusion.” Literature and Science: Theory and Practice. Ed. Stuart Peterfreund. Boston: Northeastern U P, 1990. 167-208.
Cixous, Hélène. “Fiction and Its Phantoms: A Reading of Freud's Das Unheimliche (The "Uncanny").” New Literary History 7(1976): 525-548.
Coleman, A. D. “Diane Arbus (II) : Her portraits Are Self-Portraits.” Light Readings: A Photography Critic’s Writings, 1968-1978. Oxford U P, 1979. 125-127.
Dolar, Mladen. “I Shall Be with You on Your Wedding-Night: Lacan and the Uncanny.” October 58(1991): 5-23.
Ellison, David R. Ethics and Aesthetics in European Modernist Literature: from the sublime to the uncanny. Cambridge: Cambridge University Press, 2001.
Frazer, Sir James George. The Palgrave Archive Edition of the Golden Bough. vol. 2 Hampshire: Palgrave, 2002.
Foster, Hal. Compulsive Beauty. Cambridge, Mass.: MIT Press, 1993.
Freud, Sigmund. “Das Unheimliche.” Imago (1919): 297-324.
---. “Leonardo da Vinci and a memory of his childhood.” Trans. Alix Strachey. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Ed. James Strachey et al. vol. 11. London: Hogarth P, 1955. 59-137.
---. “Totem and Taboo.” “The Moses of Michelangelo.” Trans. Alix Strachey. SE. vol. 13. 1-162; 211-236.
---. “On Narcissism: An Introduction.” Trans. Alix Strachey. SE. vol. 14. 69-102.
---. “The Uncanny,” Trans. Alix Strachey. SE. vol. 17. 218-252.
---. “Beyond the Pleasure Principle.” Trans. James Strachey. SE. vol. 18. 7-64.
---. “L’inquiétante étrangeté.” Essais de Psychanalyse Appliquée. Trans. Marie Bonaparte, and Mme E. Marty. Paris: Éditions Gallimard, 1976. 163-210.
Fuller, John. “Atget and Man Ray in the Context of Surrealism.” Art Journal 36.2 (1976/77): 130-138.
Gibson, Gregory. Hubert’s Freaks: The Rare-Book Dealer, the Times Square Talker, and the Lost Photos of Diane Arbus. Houghton Mifflin Harcourt, 2009.
Glare, P. G. W. ed. Oxford Latin Dictionary. NY: Oxford U P, 1992. 1190-1191.
Goldin, Amy. “Diane Arbus: Playing with Conventions.” Art in America Mar.-Apr. 1973: 72-5.
Goldman, Judith. “Diane Arbus: the Gap between Intention and Effect.” Art Journal 34 (1974): 30-5.
Graybill, lorence Curtis and Victor Boesen. Edward Sheriff Curtis: visions of a vanishing race. Albuquerque: U of New Mexico P, 2000.
Gross, Frederick. “Fairy Tales for Grown-ups: Diane Arbus's Social Panorama.” Diss. City University of New York, 2005. Ann Arbor: UMI, 2005.
Gunning, Tom. “Phantom Images and Modern Manifestations.” Fugitive Images: from photography to video, ed. Patrice Petro. Bloomington and Indianapolis: Indiana U P, 1995. 42-71.
Hall, James A. Dictionary of Subjects and Symbols in Art. London: J. Murray, 1984.
Hertz, Neil. “Freud and the Sandman.” Textual Strategies: Perspectives in Post-Structuralist Criticism. Ed. J. Harari. Cornell U P, 1979.
Hoffmann, Ernst Theodor Amadeus Wilhel. “The Sand-Man.” 1952. Selected writings of E. T. A. Hoffmann. Ed. and trans. Leonard J. Kent, and Elizabeth C. Knight. Chicago: U of Chicago P, 1969.
Hulick, Diana Emery. “The Photography of Diane Arbus.” Diss. Princeton U, 1982.
---. “Diane Arbus’s Women and Transvestites: Separate Selves.” History of Photography 16(1992): 34-9.
---. “Diane Arbus’s Expressive Methods.” History of Photography 19.2(1995): 107-116.
Hughes, Rober. “To Hades with Lens.” Time Nov. 1972:83-4.
Iversen, Margaret. “In the Blind Field: Hopper and the Uncanny,” Art History 21.3(1998): 409-429.
---. Beyond Pleasure: Freud, Lacan, Barthes. University Park: Penn State U P, 2007.
Janson, Horst W. “A "Memento Mori" among Early Italian Prints.” Journal of the Warburg and Courtauld Institutes 3 (1940): 243-248.
James Taylor, and D.B. Doghouse. “Hurbert’s Museum.” Showhistory. 01 Oct. 2004. 14 May 2008 <http://www.showhistory.com/huberts.html>.
Jeffrey, Ian. “Diane Arbus and American Freaks.” Studio International Mar. 1974: 133-4.
---. “Diane Arbus and the Past: When She Was Good.” History of Photography 19.2(1995): 97.
Jentsch, Anton Ernst. “On the Psychology of Uncanny.” 1906. Trans. Roy Sellars. Angelaki: A New Journal in Philosophy, Literature and the Social Science 2 (1996): 7-15.
Kayser, Wolfgang. The Grotesque in Art and Literature. 1963. Trans. Ulrich Weisstein. NY: Columbia U P, 1981.
Keller, Ulrich. “Sander and Portrait Photography.” August Sander: citizens of the twentieth century: portrait photographs, 1892-1952. Cambridge: MIT P, 1986. 1-11
Kemp, Martin. The Science of Art: Optical themes in western art from Brunelleschi to Seurat. New Haven: Yale U P, 1990.
Kofman, Sarah. “The Double is/ and the Devil.” Freud and Fiction. Trans. Sarah Wykes. Cambridge: Polity Press, 1991.
Kozloff, Max. “The Uncanny Portrait: Sander, Arbus, Samaras.” Artforum June. 1973: 58-66.
Krauss, Rosalind E. The Optical Unconscious. Cambridge, Mass.: MIT P, 1993.
---. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT P, 1999.
Kozloff, Max. “Lisette Model.” The Education of Photographer. Ed. Charles H. Traub, Steven Heller, and Adam B. Bell. NY: Allworth Press, 2006. 94-5.
Kuspit, Donald B. “Diane Arbus at Helios.” Art in America June. 1977: 95.
Langford, Michael John. The Story of Photography. NY: Focal P, 1980.
Lee, Anthony W., and John Pultz. Diane Arbus: Family Album. New Haven: Yale U P, 2003.
Lord, Catherine. “What Becomes A Legend Most: The Short, Sad Career of Diane Arbus.” The Contest of Meaning. Ed. Richard Bolton. Cambridge: MIT P, 1989. 111-123.
Magid, Mario. “Diane Arbus in ‘New Documents’.” Art Magazine Apr. 1967: 54.
Marien, Mary Warner. Photography and Its Critics: A cultural History, 1839-1900. Cambridge: Cambridge U P, 1997.
Michaels, Barbara L. “An Introduction to the Dating and Organization of Eugène Atget's Photographs.” The Art Bulletin. 61.3 (1979): 460-468.
Motekat, Helmus, and Will Heraucourt eds. Brockhous Illustrated German-English English-German Dictionary. NY: McGraw-Hill, 1962.
Mulvey, Laura. “Netherworld and the Unconscious: Oedipus and the Blue Velvet.” Fetishism and Curiosity. Indiana U P, 1996. 137-154.
---. “Uncertainty: Natural Magic and the Art of Deception,” “The Index and the Uncanny: Life and Death in the Photograph,” “Death Drive: Narrative Movement Stilled,” “Alfred Hitchcock’s Psycho (1960).” Death 24x a Second: Stillness and Moving Image. London: Reaktion, 2006. 33-103.
Nadar, Félix . “Balzac and the Daguerreotype.” Literature and Photography: Interactions 1840–1990. Ed. Jane M. Rabb. Albuquerque: U of New Mexico P, 1995.
Packer, William. “Positive Images.” Art and Artists Apr. 1974: 14-7.
Phillips, Sandra S. “The Question of Belief.” Diane Arbus Revelations. NY: Random House, 2003. 50-67.
Potonniée, Georges. Daguerre, Peintre et Décorateur. Paris, 1935.
Price, Mary. “Mask as descriptive Concept.” The Photograph: A Strange Confined Space. California: Stanford U P, 1994. 125-133.
Rank, Otto. The Double: A Psychoanalytic Study. Trans. and ed. Harry Tucker. London: Karnac Books, 1989.
Rice, Shelley. “Essential Difference: A Comparison of the Portraits of Lisette Model and Diane Arbus.” 1980. The Education of Photographer. Ed. Charles H. Traub, Steven Heller, and Adam B. Bell. NY: Allworth Press, 2006. 96-9.
Richard Schickel, “The Art of Diane Arbus.” Commentary March. 1973, 73.
Rinhart, Floyd, and Marion Rinhart. The American Daguerreotype. Athens: U of Georgia P, 1980.
Royle, Nicholas. The Uncanny. Manchester: Manchester U P, 2003.
Rubinfien, Leo. “Where Diane Arbus Went.” Air in America Oct. 2005: 65-77.
Ruby, Jay. Secure the Shadow: Death and Photography in America. Cambridge: MIT P, 1995.
Sass, Louis A. “‘Hyped on Clarity’: Diane Arbus and the Postmodern Condition.” Raritan 25 (2005): 1-36.
Schickel, Richard. “The Art of Diane Arbus.” Commentary Mar. 1973: 75.
Selkirt, Neil. “In the Darkroom.” Diane Arbus Revelations. NY: Random House, 2003. 267-275.
Shields, Mary Kathryn. “Masking in Photography and the Art f Diane Arbus and Ralph Eugene Meatyard.” Diss. Virginia Commonwealth U, 2001.
Soanes, Catherine, and Angus Stevenson ed. (New)Oxford Dictionary of English. Ed. 2nd. Oxford: Oxford U P, 2005.
Sobieszek, Robert A. The Spirit of Fact, the Daguerreotypes of Southworth & Hawes, 1843-1862. Boston: Godine, 1976.
Sontag, Susan. “America, Seen Through Photographs, Darkly.” Nov. 1973. On Photography. NY: Picador, 1990.
Smagula, Howard J. “Photography: Landscape to Narrative.” Currents: Contemporary Directions in the Visual Arts. Prentice-Hall, 1983. 181-220.
Smith, Hon Mike. “The History of Magic Lantern.” The Magic Lantern Society. 2007. 10 Mar. 2009 <http://www.magiclantern.org.uk/history/history7.html>.
Sussman, Elisabeth, and Doon Arbus. “A Chronology.” Diane Arbus Revelations. NY: Random House, 2003. 121-225.
Talbot, Fox. “Some Account of the Art of Photogenic Drawing.” 1839. Photography, Essays and Images: Illustrated readings in the history of photography. Ed. Beaumont Newhall. NY: MMoA; Boston: NY Graphic Society, 1980.
Thomas, Sophie. Romanticism and Visuality: Fragments, History, Spectacle. NY: Routledge, 2008.
Thomson, John. China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 work. NY: Dover Publications, 1982.
Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre. Trans. Richard Howard. Cornell U P, 1975.
Warner, Marina. Fantastic Metamorphoses, Other Worlds: ways of telling the self. Oxford; NY: Oxford U P, 2002.
---. Phantasmagoria: spirit visions, metaphors, and media into the twenty-first century. NY: Oxford U P, 2006.
Vardoulakis, Dimitris. “The Return of Negation: the Doppelgänger in Freud’s The ‘Uncanny’.” Substance 35.2(2006): 100-116.
Vogel, Carol. “A Big Gift for the Met: The Arbus Archives.” New York Times 18 Dec. 2007 < http://www.nytimes.com/2007/12/18/arts/design/18muse.html>.
Žižek, Slavoj. Looking Awry: An Introduction to Jacque Lacan through Popular Culture. Cambridge: The MIT P, 1992.
---. The Plague of Fantasies. London: Verso, 1997.